At 100 minutes, the film runs dangerously close to outstaying its welcome, but like its subject matter, Diaz's Don't Stop Believin': Everyman's Journey is both amiable and appealing.

Not without flaws, but nothing to get too worked up about, Alita: Battle Angel is cynicism-free, first-class popcorn entertainment spearheaded by a knockout performance from Salazar. A star is born.

Each scene is presented like a taro card for the viewer to assign his or her own meaning. Occasionally this can lead to a profound and deeply personal connection to the film whilst at others it can feel like Malick is overreaching; with large swaths of the narrative washing over you like an agreeable summer's breeze.

Both leads produce solid performances despite a sloppiness in both the direction and the writing.

The Rise of Skywalker offers us nothing but toadying supplication to the worst aspects of fan culture. There is no story to tell here, no characters to care about, no ideas to explore. The film is pure construct, a box built for its own sake, at long last opened with excruciating listlessness, revealing nothing but its own vapid emptiness.

Ultimately, the attempt to over-deliver on themes leads to a serious under-delivery of dramatic impact. This is a disjointed film, inexplicably a classic for some, that fails to engage with modern audiences.

T.S. Spivet is a dreamlike fairytale, which swims in the romanticism of childhood and the decay of the American Dream.

At times the whole film threatens to turn into a visual stream of consciousness exercise which is a real shame, as Greenfield’s aims are entirely admirable and with merit.

Husson sketches teenage ennui well, and crafts complicated and watchable characters around which to base the core of her drama. The slip-up comes in a final act that bows out of the previously constructed conflict in disappointingly obvious fashion.

The Mauritanian is not the film it could, and really should, have been.

Of the many problems the film has, it’s the different plots that never quite bounce off each other.

Although it fundamentally has many of the same issues as the first film, the strengths are enhanced in The Amazing Spider-Man 2 and it's certainly a step forward for the franchise. Now, let's give the web-head a villain worthy of his attention.

As in thrall to its fantasy as its characters, On a Magical Night confuses what is admittedly a charming conceit for depth. Nevertheless, that charm is enough to sustain the picture across its 90-minute runtime, even if its effects quickly recede into memory.

Nothing else this year can match Another Evil for its expert chills, comic dialogue, Office-level cringe and disturbing themes.

Sure, Detective Pikachu is messy and predictable, but the fact that director Rob Letterman and his team embrace the inherent absurdity of the Pokémon franchise as a whole means it’s a hoot.

Buried underneath the convolutions, the mistaking of melodramatic sensationalism over psychological reality, there really is something of a real emotional centre that just about makes enduring the rest worth it.

Demons and Demons 2 are classic (if that’s the right term) examples of what happens when any pretence at style or subtlety goes out the window, in favour of in-your-face carnage which is so over-the-top that it is no longer remotely scary, but just plain nauseating.

That Sy and Gainsbourg's love story never quite inflames the heart ultimately means that Samba remains a pleasant, rather than an enduring watch.

Astronaut is a sweet film that could have done with more fire under its belly earlier on.

Iceman’s violence and viscera is satisfying in its immediacy, and Randau’s singular focus is certainly admirable. It’s just a pity that any nuance in the fine line between humanity and savagery is lost among all the hacking and slashing.

There's a lot that's wonderful about Andrei Konchalovsky's Holocaust drama Paradise and yet there's something fundamentally wrong with the film.

Blackhat is about the contraflow; it's a disruption in the new technocracy and a fly in the ointment of big budget Hollywood cinema.

Overall this is a remarkable debut from Elba, and it makes for an engaging, captivating watch.

The thoughtfulness of Plummer's performance is not matched by a script that forgets human logic in favour of narrative tricksiness that ultimately undermines the initially intriguing premise.

Insidious: Chapter 3 is unquestionably lightweight material and really all down to the pleasures of ghost train frolics, but such are the uncomplicated joys of the horror movie.

Eternals should be commended for the positive creative decisions it has taken and in allowing at least some of Zhao’s directorial vision to creep in. For all its flaws, it is far from the worst entry in the MCU, but it is, perhaps, the first of Marvel’s films to be less than the sum of its parts.

Overall the film's trashy pleasures just about keep it afloat.

Watching the goofy boy develop into a man, we share in his experiences and root for him each step of the way.